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DICTIONARY OF MUSIC - El Atril

DICTIONARY OF MUSIC - El Atril

DICTIONARY OF MUSIC - El

GROVE'S "^'^^^^^^ DICTIONARY OF MUSIC AND MUSICIANS EDITED J. A. FULLER MAITLAND, M.A, F.S.A. IN FIVE VOLUMES VOL. II THE MACMILLAN COMPANY LONDON: MACMILLAN & CO., Ltd. 1906 All rights reserved

  • Page 2 and 3: Copyright, 190f), By the :\iacmilla
  • Page 4 and 5: Alfred Gibson, Esq. . C. L. Graves,
  • Page 7: George Frederick Handel . Cesar Fra
  • Page 10 and 11: List of works : FABRITIUS FACCIO 1.
  • Page 12 and 13: FALSE RELATION FAMITSIN She also cr
  • Page 14 and 15: FANING FANTASIA -^^m^^^^ 2. So pict
  • Page 16 and 17: 8 FARCE FARINELLI less innocent pur
  • Page 18 and 19: 10 FARINELLI FAKINELLI name his rew
  • Page 20 and 21: 12 FAKMER FARMEE Hawkins gives a fo
  • Page 22 and 23: 14 FASCH FASCH and [liano. She marr
  • Page 24 and 25: 1( FAUST FAUX-BOUEDON April 26, 186
  • Page 26 and 27: 18 FAVORITE, LA FAYEFAX (if he he t
  • Page 28 and 29: 20 FELDLAGEE IN SCHLESIEN, EIN 1900
  • Page 30 and 31: 22 FERRABOSCO FERRABOSCO pleasure.
  • Page 32 and 33: 24 FERRABOSCO FERRARI been the Mrs.
  • Page 34 and 35: 26 FERTE TESTA Italy at that time.
  • Page 36 and 37: 28 FESTIVALS, MUSICAL FESTIVALS, MU
  • Page 38 and 39: 30 TtTlS f6tis parish church of Che
  • Page 40 and 41: 32 FEVIN FIBICH call Fevin a contem
  • Page 42 and 43: 34 FIELD FIELD 1810 ; with them, 18
  • Page 44 and 45: 3G FIGURE FIQUEE It is in fact the
  • Page 46 and 47: 38 FILIPPI as some intervalswere lo
  • Page 48 and 49: 40 FINALE FINCK Two of the finest s
  • Page 50 and 51: 42 FINCK FINGER Selneccer in a work
  • Page 52 and 53:

    44 FINGERING FINGERING would appear

  • Page 54 and 55:

    46 FINGERING FINGEEING it from a co

  • Page 56 and 57:

    48 FINGERING FINGERING CAromalic sc

  • Page 58 and 59:

    50 FINGERIKG FINGEEING on both stri

  • Page 60 and 61:

    52 FINGERING FINGEEING The position

  • Page 62 and 63:

    54 FINGERING FINK octave, but by an

  • Page 64 and 65:

    56 FIPPLE FLUTE FISCHEK ' Non piu m

  • Page 66 and 67:

    58 FISH FITZWILLIAM years a great a

  • Page 68 and 69:

    60 FLAGEOLET FLAT In the whistle, a

  • Page 70 and 71:

    62 FLOKENCK FLORENCE Florence on a

  • Page 72 and 73:

    64 FLOTOW FLOTOW afterwards perform

  • Page 74 and 75:

    66 FLUTE FLUTE and tone, lead, howe

  • Page 76 and 77:

    68 FLUTE FLUTE-WORK Oratorios, awar

  • Page 78 and 79:

    70 FOGGIA FOLLIA supplementary numb

  • Page 80 and 81:

    72 FORD FOELANA of the operatic cla

  • Page 82 and 83:

    74 FORM FORM i ^^-^— ^ v^---^^g l

  • Page 84 and 85:

    76 FOEM FORM call the complementary

  • Page 86 and 87:

    78 FORM FOEM discussion and re-stat

  • Page 88 and 89:

    80 FORM FORM clearly by closes and

  • Page 90 and 91:

    82 FORM FORM intense enough to just

  • Page 92 and 93:

    84 FORM POEM Dominant key. Thus in

  • Page 94 and 95:

    86 FORM FORM hag not only changed i

  • Page 96 and 97:

    88 FORMES FORSTER In a little Symph

  • Page 98 and 99:

    90 FORTI FOSTER observed the flute

  • Page 100 and 101:

    92 FOURNEAUX FKANZL (for specificat

  • Page 102 and 103:

    94 FRANC FRANCESINA, LA show that i

  • Page 104 and 105:

    96 FRANCK FEANCK that of Zimmerman

  • Page 107 and 108:

    FKANCK FRAKCK 97 did'erence with wh

  • Page 109 and 110:

    FRANCK FllANUK 99 a charming fantas

  • Page 111 and 112:

    FRANCO FRANCO 101 siae ; who , he s

  • Page 113 and 114:

    PKANCCEUR FUANKLIN 103 writing in t

  • Page 115:

    ROBERT FRAXZ

  • Page 118 and 119:

    106 FREDERICK FREE REED ' ' Susanna

  • Page 120 and 121:

    108 FRETS FRETS Gland Duke of Tusca

  • Page 122 and 123:

    110 FRICK FEIEDLANDER FRICK, or FRI

  • Page 124 and 125:

    112 FROHLICH FKUYTIERS one with Ita

  • Page 126 and 127:

    114 FURSTENAU FUGUE 'Beatus vir' a

  • Page 128 and 129:

    116 FUGUE FUGUE 1. Those that are i

  • Page 130 and 131:

    118 FUGUE FUGUE The complete statem

  • Page 132 and 133:

    120 FUGUE FUGUE Wohltemperirtes Cla

  • Page 134 and 135:

    122 FUGUE FUGUE the title of ' Mias

  • Page 136 and 137:

    124 FULL ORGAN FUX Fulda, of very a

  • Page 138 and 139:

    Cl- The fifth note of the natural s

  • Page 140 and 141:

    128 GABRIELLI GADE but she did not

  • Page 142 and 143:

    130 GANSBACHER GAFOEI to 'Alcestis'

  • Page 144 and 145:

    132 GAGLIANO GAGLIANO at the end, t

  • Page 146 and 147:

    134 GALEAZZI GALILEI parts. The Rit

  • Page 148 and 149:

    136 GALLENBERG GALLl the payments o

  • Page 150 and 151:

    138 GALLIAED GALLICULUS Inn Fields

  • Page 152 and 153:

    140 GAMBA GAMBA, VIOLA DA the Empre

  • Page 154 and 155:

    142 GANDO GARAT or ' fa,' of the he

  • Page 156 and 157:

    144 GARC IN GARDINER presented to t

  • Page 158 and 159:

    146 GARRETT GASSIER GARRETT, Dr. Ge

  • Page 160 and 161:

    148 GAUL GAULTIER was rice J. Churc

  • Page 162 and 163:

    150 GAVEAUX GAVINI^S aim, and throu

  • Page 164 and 165:

    152 GAZZA LADRA, LA GEBEL pour le C

  • Page 166 and 167:

    154 GELINEK GEMINIANI which two des

  • Page 168 and 169:

    156 GENERALI GENET torn there, Feb.

  • Page 170 and 171:

    158 GERBER GERBERT also court-secre

  • Page 172 and 173:

    160 GERMAN GERO music for ' Henry V

  • Page 175 and 176:

    GERO GESE 161 always kept quite dis

  • Page 177 and 178:

    GEVAERT GEWANDHAUS CONCEltTS 163 re

  • Page 181 and 182:

    GIAKDINI GIBBONS 16!: GIARDINI, Fel

  • Page 183 and 184:

    GIBBONS GIBBONS 167 Cosyn's book,'

  • Page 185 and 186:

    GILES GILSON ]69 written indiscrimi

  • Page 187 and 188:

    GIOCONDA, LA GIORDANO 171 some fift

  • Page 189 and 190:

    GIPSY'S WARNING, THE GITTERN 173 tl

  • Page 191 and 192:

    GLlSER GLAZOUNOV 175 after was made

  • Page 193 and 194:

    GLEASON GLEE 177 has frequently act

  • Page 195 and 196:

    GLIEKE GLINKA 1V9 pentcleides.' The

  • Page 197:

    MICHAEL IVANOVICH GLINKA

  • Page 200 and 201:

    182 GLISSANDO GLOVER GLISSANDO (Ita

  • Page 202 and 203:

    184 GLUCK GLUCK may be detected the

  • Page 205 and 206:

    GLUCK GLUCK 185 cher Gluck, ' and a

  • Page 207 and 208:

    GLUCK GLUCK 187 JuUien's La Cour et

  • Page 209 and 210:

    GOD SAVE THE KING GOD SAVE THE KIXG

  • Page 211 and 212:

    GOD SAVE THE KING GODARD 191 the ex

  • Page 213 and 214:

    GODEFEOID GODFREY 193 Mendelssolin,

  • Page 215 and 216:

    GOETZ GOLDBERG 195 for piano and st

  • Page 217:

    CARL GOLDMARK

  • Page 220 and 221:

    198 GOLDSCHMIDT GOLINELLI impresari

  • Page 222 and 223:

    200 GOMEZ GONG coursing the pleasur

  • Page 224 and 225:

    202 GORDIGIANI GORIA published simu

  • Page 226 and 227:

    204 QOSSEC GOSTLING and re-scored ;

  • Page 228 and 229:

    206 GOUDIMEL GOUDIMEL first appeara

  • Page 230 and 231:

    208 GOULDIiSG & CO. GOUNOD III mode

  • Page 233 and 234:

    GOUNOD GOUNOD 209 Course of theolog

  • Page 235 and 236:

    GOUVY GOW 211 a method for the corn

  • Page 237 and 238:

    GRACE NOTES GRADENEE il3 brought by

  • Page 239 and 240:

    GKAND DUIvE, THE GRANDI 215 Sonatas

  • Page 241 and 242:

    GEASSI GKASSINI 217 it may be taken

  • Page 243 and 244:

    GRAUN GEAUPNER 219 chief considerat

  • Page 245 and 246:

    GREAT ORGAN GREATHEED il The use of

  • Page 247 and 248:

    GREEK MUSIC GREEK MUSIC 223 GREEK M

  • Page 249 and 250:

    Enharmonic ditoiie Chromatic Toyic

  • Page 251 and 252:

    Table of Fifteen Keys %vith their N

  • Page 253 and 254:

    Table of Fifteen Keys "with their N

  • Page 255 and 256:

    GREEK MUSIC GREEN 231 H. Singing an

  • Page 257 and 258:

    GREENE GREETING 233 gave rise to th

  • Page 259 and 260:

    GREGORIAN MUSIC GREGORIAN MUSIC 235

  • Page 261 and 262:

    GRELL GEETRY 237 reprinted by J. J.

  • Page 263:

    \ AXDEE ERXEST JIODESTE GRETRY

  • Page 266 and 267:

    240 GENTRY GEETEY our admiration ar

  • Page 268 and 269:

    242 GRIEPENKERL GRIESBACH note, and

  • Page 271 and 272:

    GEIESINGEfi, GEIMM 243 GRIESmCER, G

  • Page 273:

    GIULIA GRISI

  • Page 276 and 277:

    246 GROSSVATER-TANZ GROVE instrumen

  • Page 279 and 280:

    GEOVE GROVE 247 school started at S

  • Page 281 and 282:

    GROVE GROVE 249 inyited to join the

  • Page 283 and 284:

    GRUTZMACHER GUADAGXI 251 and he was

  • Page 285 and 286:

    GUARNIERI GUAENIEEI 263 Prejudice a

  • Page 287 and 288:

    GUEST GUGLIELMI 255 Charles V., tel

  • Page 289 and 290:

    GUIDO D'AREZZO GUIDO D'AREZZO 257 8

  • Page 291 and 292:

    GUILLAUME TELL GUITAR 259 who antic

  • Page 293 and 294:

    GULLI GUNG'L 261 playing the Machet

  • Page 295 and 296:

    GUSIKOW GYMNASTICS 263 opera, ' ' S

  • Page 297 and 298:

    GYMNASTICS GYMNASTICS 265 the Pruss

  • Page 299 and 300:

    GYKOWETZ GYEOWETZ 267 which he reta

  • Page 301 and 302:

    HABERBIER HADDOCK 269 conjointly wi

  • Page 303 and 304:

    HAUSER HAIL COLUMBIA 271 the age of

  • Page 305 and 306:

    HALE HALEAi'Y 273 Henri, a well-to-

  • Page 307:

    vVs_ '• JACQUES FRAXC0I8 FRUJIEXT

  • Page 310 and 311:

    276 HALLE HALLELUJAH the next few y

  • Page 312 and 313:

    278 HAMEETON HAMMERSOHMIDT ' Der Re

  • Page 314 and 315:

    280 HANDEL HANUEL resulted in his g

  • Page 316 and 317:

    282 HANDEL HANDEL epigram upon Hand

  • Page 318 and 319:

    284 HANDEL HANDEL Prince of Wales,

  • Page 320 and 321:

    HANDEL HANDEL and telling accompani

  • Page 322 and 323:

    288 HANDEL HANDEL are, in their own

  • Page 324 and 325:

    290 HANDEL, COMMEMORATION HANDEL FE

  • Page 326 and 327:

    292 HANDEL-GESELLSCHAFT HANDEL SOCI

  • Page 328 and 329:

    S94 HANLEY FESTIVAL HANOVER SQUABE

  • Page 330 and 331:

    296 HARINGTON HARMONIC STOPS public

  • Page 332 and 333:

    298 HARMONICA HARMONICON, THE visit

  • Page 334 and 335:

    300 HARMONICS HARMONICS little forc

  • Page 336 and 337:

    302 HARMONIUM HARMONIUM works. He t

  • Page 338 and 339:

    304 HARMONIUM We give a cut of the

  • Page 340 and 341:

    306 HARMONY HARMONY t3 ^ ^^ r^ ^rs

  • Page 342 and 343:

    308 HARMONY HARMONY and its quality

  • Page 344 and 345:

    310 HARMONY HARMONY there need be n

  • Page 346 and 347:

    312 HARMONY HARMONY recognition of

  • Page 348 and 349:

    314 HAKMONY HARMONY with the Cadenc

  • Page 350 and 351:

    316 HARMONY HAEMONY passage. This p

  • Page 352 and 353:

    318 HARMONY HARMONY according to th

  • Page 354 and 355:

    320 HARMONY HARMONY in which B is a

  • Page 356 and 357:

    322 HARMONY, ANALYSIS OF HARMONY, A

  • Page 358 and 359:

    324 HAROLD HARP illustrates the emp

  • Page 360 and 361:

    326 HARP HARP execution, to give tl

  • Page 362 and 363:

    328 HARPER HARPSICHORD Light appear

  • Page 364 and 365:

    330 HARPSICHORD HARPSICHORD Italian

  • Page 366 and 367:

    332 HARPSICHORD HARRIS gift of musi

  • Page 368 and 369:

    3 34 HARRISON HART & SONS an octavo

  • Page 370 and 371:

    336 HARTVIGSON HARTVIGSON generatio

  • Page 372 and 373:

    338 HASSE HASSE Stephen, ' , ' Leon

  • Page 374 and 375:

    340 HASSE HASSLER extant works is g

  • Page 376 and 377:

    342 HAUPT HAUPTMANN the production

  • Page 378 and 379:

    344 HAUSSMAN HAWES Tioloncellist in

  • Page 380 and 381:

    346 HAWKIXS HAYDEN he wrote and pub

  • Page 382 and 383:

    348 HAYDN HAYDN In character Michae

  • Page 385 and 386:

    1732— HAYDN —1740 349 village c

  • Page 387 and 388:

    1751- HAYDN — 1756 361 more than

  • Page 389 and 390:

    1762— HAYDN -1790 353 a piece for

  • Page 391 and 392:

    1780- HAYDN — 1790 355 at Esterha

  • Page 393 and 394:

    1790- HAYDN — 1791 357 come to se

  • Page 395 and 396:

    1792 — HAYDN -1795 359 Among hia

  • Page 397 and 398:

    1795- HAYDN -1800 361 from all anxi

  • Page 399 and 400:

    1805— HAYDN -1809 363 acquainted

  • Page 401 and 402:

    HAYDN HAYDN 365 met with a poor ret

  • Page 403 and 404:

    HAYDN HAYDN 367 voice-parts and the

  • Page 405 and 406:

    HAYDN HAYDN 369 C. Later Eisenstadt

  • Page 407 and 408:

    HAYM HAYM 371 Magdalen College, Oxf

  • Page 409 and 410:

    HEBRIDES HEDGELAND 373 Cimbel.' It

  • Page 411 and 412:

    HEIMCHEN AM HEED, DAS HELENE 375 He

  • Page 413 and 414:

    HELLMESBERGER HELMHOLTZ 377 this wr

  • Page 415 and 416:

    HELMOEE HEMPSON 379 as a close, and

  • Page 417 and 418:

    HENRY VIII HENSCHEL 381 HENRY VIII.

  • Page 419 and 420:

    HENSELT HERBECK Henselt's ways at t

  • Page 421 and 422:

    HERCULES HlilROLD 385 Amoris,' Nure

  • Page 423:

    LOUIS JOSEPH FEKDIXAXD HEROLD

  • Page 426 and 427:

    388 HERVEY HERZ Lyceum for the di'b

  • Page 428 and 429:

    390 HESELTINE HEUGEL ET 0^^ it stan

  • Page 430 and 431:

    392 HEXACHORD HEYTHER Fugue, in the

  • Page 432 and 433:

    394 HICKFOED'S ROOM HICKFOED'S ROOM

  • Page 434 and 435:

    396 HIDDEN FIFTHS HIDDEN FIFTHS 'Ro

  • Page 436 and 437:

    398 HIDDEN FIFTHS HIDDEN FIFTHS Hav

  • Page 438 and 439:

    400 HILL HILL bury, as his brother'

  • Page 440 and 441:

    402 HILLER HILLER and composition i

  • Page 442 and 443:

    404 HILLER HILTON Hiller establishe

  • Page 444 and 445:

    406 HIMMEL HINGSTON Gardiner, in Mu

  • Page 446 and 447:

    408 HIPKIXS HISPANIAE SCHOLA MUSICA

  • Page 448 and 449:

    410 HISTORIES OF MUSIC HISTORIES OF

  • Page 450 and 451:

    412 HISTORIES OF MUSIC HISTORIES OF

  • Page 452 and 453:

    414 HOCKET HOFFMAN published in PF.

  • Page 454 and 455:

    416 HOFFMANN HOFHAIMER 1835 profess

  • Page 456 and 457:

    418 HOLBORNE HOLCOMBE influences at

  • Page 458 and 459:

    420 HOLLANDER HOLLINS and composer,

  • Page 460 and 461:

    422 HOLMES HOLMES settled in London

  • Page 462 and 463:

    424 HOLZ HOME, SWEET HOME He publis

  • Page 464 and 465:

    426 HOOPEE HOPKINS capacities, and

  • Page 466 and 467:

    428 HORN HOEN series, the exact agr

  • Page 468 and 469:

    430 HORN the various lent'ths of tu

  • Page 470 and 471:

    432 HOEN HORN the Second Horn solo

  • Page 472 and 473:

    434 HOENPIPE HORNPIPE of 1843 Horn

  • Page 474 and 475:

    436 HORTENSE HOWARD John's, Netting

  • Page 476 and 477:

    438 HUBERMANN HUCBALDUS where he su

  • Page 478 and 479:

    440 HUNTEN HULLAH Briefwechsel, hy

  • Page 480 and 481:

    442 HUMMEL HUMMEL He composed two O

  • Page 482 and 483:

    444 HUMMEL HUMMEL days was very gre

  • Page 484 and 485:

    446 HUNT HURDY GURDY edition of Pep

  • Page 486 and 487:

    448 HUSK HUYGENS concerto in D (pla

  • Page 488 and 489:

    450 HYDASPES HYDRAULUS geometry, is

  • Page 490 and 491:

    452 HYMN HYMN pipes are shown place

  • Page 492 and 493:

    454 HYMN HYMN turned these circumst

  • Page 494 and 495:

    456 HVMN HYMN Restoration period ha

  • Page 496 and 497:

    458 HYPEK- HYPO- HYPER- (Gr. hwip,

  • Page 498 and 499:

    460 IMBROGLIO IMMYNS questions from

  • Page 500 and 501:

    462 IMPRESARIO, L' IMPROVISATION IM

  • Page 502 and 503:

    464 INCLEDON INCORPORATED SOCIETY "

  • Page 504 and 505:

    466 INDY INFLEXION the first perfor

  • Page 506 and 507:

    468 INFLEXION INGEGNERI Ju-he do -

  • Page 508 and 509:

    470 INSANGUINE INSCRIPTION two of t

  • Page 510 and 511:

    472 INSTRUMENT INSTRUMENT are produ

  • Page 512 and 513:

    474 INSTRUMENTATION INSTRUMENTATION

  • Page 514 and 515:

    476 INSTRUMENTATION INSTRUMENTATION

  • Page 516 and 517:

    478 INSTRUMENTATION INSTRUMENTATION

  • Page 518 and 519:

    480 INSTRUMENTATION INSTRUMENTATION

  • Page 520 and 521:

    482 INSTRUMENTATION The same passag

  • Page 522 and 523:

    484 INSTEUMEXTS A VENT INTERMEZZO T

  • Page 524 and 525:

    486 i:ntei{,mezzo INTERNATIONAL SOC

  • Page 526 and 527:

    488 INTONATION INTRODUCTION augment

  • Page 528 and 529:

    490 INTRODUCTION INTROIT the first

  • Page 530 and 531:

    492 INVERSION INVERTIBLE COUNTERPOI

  • Page 532 and 533:

    494 INVERTIBLE COUNTERPOINT INVERTI

  • Page 534 and 535:

    496 INVERTIBLE COUXTEEPOINT INVERTI

  • Page 536 and 537:

    498 INVEETIBLE COUNTERPOINT INVERTI

  • Page 538 and 539:

    500 INVERTIBLE COUNTERPOINT INVERTI

  • Page 540 and 541:

    502 INVERTIBLE COUNTERPOINT INVEETI

  • Page 542 and 543:

    504 INVERTIBLE COUNTERPOINT INVERTI

  • Page 544 and 545:

    506 IONIAN MODE IPHIG^NIE EN TAURID

  • Page 546 and 547:

    508 IRISH MUSIC IRISH MUSIC struggl

  • Page 548 and 549:

    510 IRISH MUSIC IKISH MUSIC name im

  • Page 550 and 551:

    512 ISAAC ISAAC have not handed dow

  • Page 552 and 553:

    514 ISRAEL IN EGYPT ISRAEL IN EGYPT

  • Page 554 and 555:

    616 IVRY IVRY pieces in Musick's Tl

  • Page 556 and 557:

    518 JACHET JACKET important series

  • Page 558 and 559:

    520 JACKSON JACKSON vulgarly knonii

  • Page 560 and 561:

    522 JACOBI JACOTIN consisting princ

  • Page 562 and 563:

    524 JAHNS JAHRBtrCHER and Boieldieu

  • Page 564 and 565:

    526 JANNACONI JANNEQUIN practical i

  • Page 566 and 567:

    528 JAPAET JARNOWICK occur in certa

  • Page 568 and 569:

    530 JENNY BELL JEPHTHA printed at t

  • Page 570 and 571:

    532 JEWS-HAEP JHAN also of a short

  • Page 572:

    534 JOACHIM JOACHIM QUARTET convict

  • Page 576 and 577:

    536 JOACHIM QUARTET 'JOHN BROWN'S B

  • Page 578 and 579:

    538 JOHNSON JOHNSON Robert Burns th

  • Page 580 and 581:

    540 JOMMELLI JOMMELLI Change.' Abou

  • Page 582 and 583:

    542 JOMMELLI JONAS mild gravity, an

  • Page 584 and 585:

    544 JONES JONES Movements of the Mo

  • Page 586 and 587:

    646 JOSEPH JOSQUIN and Brahms with

  • Page 588 and 589:

    548 JOSQUIK JOSQUIN (1903) make it

  • Page 590 and 591:

    650 JUDENKUXIQ JUIVE. LA to have su

  • Page 592 and 593:

    552 JULLIEN JULLIEN These were foll

  • Page 594 and 595:

    554 JUPITER JUST INTONATION Moscow,

  • Page 596 and 597:

    "[7ADE, Otto, was born May 6, 1S19,

  • Page 598 and 599:

    558 KALLIWODA KAPSBEEGER . Professo

  • Page 600 and 601:

    560 IvEAKNS KEEL ROW, THE • 12. M

  • Page 602 and 603:

    562 KEISER KELLEY year(1709)heconip

  • Page 605 and 606:

    KELLXER KELLY 563 to 1874 ; then of

  • Page 607 and 608:

    KEMBLE KENNEDY i65 acterises his pl

  • Page 609 and 610:

    KEOLANTHE KES 567 KEOLANTHE, or The

  • Page 611 and 612:

    KEY KEY 569 accidental AYhich "will

  • Page 613 and 614:

    KEY KEY 571 loan collection of the

  • Page 615 and 616:

    KEYS KIEL 673 [In the instruments w

  • Page 617 and 618:

    KIND KIXG 575 appendix ffrtZTen'c d

  • Page 619 and 620:

    KING'S THEATRE, THE KIRBYE 577 clia

  • Page 621 and 622:

    KIECHENMUSIK KIRCHGE8SNER 579 colle

  • Page 623 and 624:

    KISTLER KISTNER 581 Gerber, court o

  • Page 625 and 626:

    KJERULF KLAFSKY 583 a coinposer in

  • Page 627 and 628:

    KLEEBERG KLEMM 585 one for clavier

  • Page 629 and 630:

    KLINDWORTH KLOTZ 587 music, he was

  • Page 633 and 634:

    KNEISEL KNELLEE HALL 589 cause. The

  • Page 635 and 636:

    KNORR KNtJPFER 591 w. H. G, F.] On

  • Page 637 and 638:

    KOHLER KONIG 593 zig, 1862). As a p

  • Page 639 and 640:

    KONIUS KOEESTCHENKO 595 and on bis

  • Page 641 and 642:

    KRAFT KRAUSS 597 1778. On the Princ

  • Page 643 and 644:

    KREHBIEL KREISLER 599 and advantage

  • Page 645 and 646:

    KRETZSCHMAR KREUTZER 601 was produc

  • Page 647 and 648:

    KREUZ KRIEGER 603 in imitation of t

  • Page 649 and 650:

    KRUMMHORN KRUSE 605 Haydn and Mozar

  • Page 651 and 652:

    KUCKEN KUHMSTEDT 607 condition of v

  • Page 653 and 654:

    KUGELMANN KUHLAU 609

  • Page 655 and 656:

    KUMMER KUNTZEN 611 and Tiolin ; Bal

  • Page 657 and 658:

    KYEIE KYRIE 613 Cant lis. Pat.f.str

  • Page 659 and 660:

    T A, the syllable used in solmisati

  • Page 661 and 662:

    LABLACHE LACHNER 617 character he w

  • Page 663 and 664:

    LACOMBE LANDLER 619 giyen in 1892 a

  • Page 665 and 666:

    LAGE LA HELE 621 of exceptional mer

  • Page 667 and 668:

    LALANDE LALANDE 623 MfiETC-,the dau

  • Page 669 and 670:

    LA MARA LAMENTATIONS 625 Germany an

  • Page 671 and 672:

    LAMEXTATIOXS it to lie mistaken for

  • Page 673 and 674:

    LAMOUKEUX LAMPEETI 629 Carvallio be

  • Page 675 and 676:

    LANDOLFI LANG 631 soupirez, Madame.

  • Page 677 and 678:

    LANGE LAXGHANS 633 unworthy compeer

  • Page 679 and 680:

    LANNEK LAPOKTE 635 a charter, incor

  • Page 681 and 682:

    LAEOCHE LASSALLE 637 vatoire. He re

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    640 LASSUS LASSUS fresh contrapunta

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    644 LASSUS LASSUS from the 'Primus

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    646 LASSUS LASSUS singing the notes

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    648 LASSUS LAST ROSE OF SUMMER at a

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    650 LATROBE LATROBE Onofrio in Napl

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    652 LAUDA SION LAUDI SPIRITUALI [ ,

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    654 LAVENU LAVOIX Conservatoire at

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    656 LAWES LAY VICAR But both appear

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    658 LEACH LEADING NOTE Edgcumbe tho

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    660 LECHNER LECLAIK pianist. She wa

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    662 LE COUPPEY LEE and 'LaMarjolain

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    666 LEGGIERO LEHMANN original editi

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    LEHMANN LEIGHTON 667 and "well know

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    LEIT-MOTIF LE JEUNE 671 Another ins

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    LEKEU LEMLIN 673 still find of his

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    LIBRARIES AND COLLECTIONS OP MUSIC

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    740 LIPSIUS LISZT Mendelssohn's set

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    LISZT LITANIAE LAURETANAE 751 as it

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    LITANY LITANY r53 The Eev. J. Jebb

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    LODER LOEILLET 763 JoHK David Lodee

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    PAULIXE LUCCA i ^

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    ' 778 LUCREZIA BORGIA LUINIQ Mozart

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    780 LULLY LULLY court, he knew, abo

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    782 LULLY LUMLEY Desrochers. Mignar

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    784 LURLINE LUTE great-grandfather

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    786 LUTE LUTE the finger-board thes

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    788 LUTHER LUTHER accordingly, in h

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    V90 LUTZ LUZZASCHI in 1781 transfer

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    792 LYRA LYEA VIOL astical Modes ;

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    794 LYRIC LYSBERG which had been ma

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    ADDENDA ET CORRIGENDA FOR VOL. I P.

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    THE HISTORY OF AIMERICAN ART Edited

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